OILFIELDS, 2004
Oilfields connotes both the notion of the frontier and the adventurous mentality of the West, and a kind of horizontal understanding of landscape that is so quintessential about the West. While it circumscribes the West's idiosyncratic historical and physical manifestations, it also stands for a concept that is slowly fading into the past as a new era emerges.
In the 16-part work Frozen, which is characterized by a strangely transcendent mood in the lighting, film-still-like pictorial clusters come together to form a mysterious story, with the artist herself as the lonely protagonist. the aesthetic is reminiscent of early Lynch films. The components of the elliptically choreographed events are scenes from an enchanted, gleaming winter landscape, together with "staged snapshots" of a pale young woman in her underskirts, who radiates the troubled reality of a mirage with her sleep walking presence. The story is presented in the manner of cinematic flashbacks or dream sequences. Stage blood and a knife are used to evoke a crime of passion whose surreal attractiveness is derived from the scenic openess of what is shown. The deliberate use of old instant picture stock establishes in a richly faceted way the ephemeral quality of vulnerability and transience within a reality that is brittle from the outset.
FAIRYTALES, 2006
fairy 
// noun ( pl. fairies)
1. a small imaginary being of human form that has magical powers, esp. a female one.
adjective // belonging to, resembling, or associated with fairies : fairy gold.
fairy tale (also fairy story) // noun
a children's story about magical and imaginary beings and lands. • [as adj. ] denoting something regarded as resembling a fairy story in being magical, idealized, or extremely happy : a fairy-tale romance.
SUBURBIA, 2004
Suburbs > collectively, or the people who live in them
Suburb { a district, especially a residential one, on the edge of a city or large town }
synonyms [ Outer edge , Fringes, Periphery, Limits, Outer reaches, Environs ]
PAST THE DECISIVE MOMENT, 2004
WINTERWALD, 2004
THE LAST PICTURE SHOW, 2005
NOT IMPOSSIBLE, 2011-2012
I do - ever since I saw Stefanie Schneider's artwork in a gallery in Hamburg, Germany a few years ago. Never before have images drawn me so immediately, affected me so profoundly, nor kept me so relent- lessly under their spell. Never before have I sensed such a harmonious, quiet and yet mutually nourishing relationship between an artist and the medium which occupies the central position in my life, my work and my mind: Polaroid film.